Method of producing musical compositions through the medium of color.



C. F. WlLCUX. MEIHOD 0F PRODUCINGMUSICALCOMPOSITIONS THROUGH HIE MEDIUM0F CQLOR.

' Arrucmou FILED um. 1. ms.

1,323,943. Patented Dec. 2,1919.

' a SHEETSSNE1 1.

H S ng-L-ardwlwve my famomtainside Let C. F. WILCUX.

METHOD OFPROUUCINU MUSICAL COMPOSITIONS THROUGH THE MEDIUM 0F COLOR.

irrucmon mm um. 1. ms.

Patented Dec. 2, 1919.

3 SHEElS-SHEEI 3.

ooooooo egg STATES PATENT OFFICE.

CHARLES E. WILCOI. OF BROOKLYN. NEW YORK, 81 61103, 6]? FOBTY-II'IIIOll- HUNDBEDTHS TO ALBINUS WILCOX, OF KINGS COUNTY, NEW YORK.

METHOD OF PB OD UCIHG MUSICAL COMPOSITIONS THROUGH THE HEDIUI 0] 00103.

{Toelhblwinit may corwe'm: V

itfknown that I, Gunners F. lViLcoX, citizen of the United States,residing in the borough of Brooklyn, in the city of New York, in thecounty of Kings and State of New York, and whose post-office address isBox 271, Brooklyn, New York, have invented certain new and usefulImprovements in .Methods of lroducil'ig Musical Compositions Through theMedium of Color, of'which the following is a specifi ation.

This invention relates to' the method of prmlucing nmsicalcompositions,or accompaniments for musical compositions, or

, other rhythmical effects, auricular or spectacular, essentially forentertainment, as instrun'iental music, singing, marching, (lancing ordramatic action, by and through the medium of color which is presentedto'the eye as a. changing rhythmical light of different colors projectedupon a screen a stage or other object .or it may be so contrived andiu'run d that the effect will be projected (liwctf: to the eye from thesource of light.

My invention-is based upon the scientific theory of the relation betweensound vibrations and vibrations of light, the varying rapidity ofvibrations of each causing the phenomena of color perception in the case3* light and of the perception of pitch or tone in the case of'sound.

The correlation or analogy between color and sound as I prefer todesignate the phenomena of effects uponsight and hearmg respectively,-is evidenced by the fact that the rays of light revealed by the spec-.

trum are broadly divided into seven degrees or colors of light, as;indigo, blue, violet, or

purple, red, orange, yellow and green, which through the organ of sightthe eye through the retina. and the optic nerve affect theconsciousness,'subconsciousness and the subjective sense of theobserver; and similarly the gamut or musical scale is likewise broadlydivided 'into'seven degrees or subdivisions of tones, as C, D, E. F, G,A, B.

. the seven tones in the octavein the key of middle C. It should benoted that. while there are eight tones in each octave yct the eighthtone of the octave is a repetition of the first tonein a higher key, andtho first tone in the next octave above the lower octave.

Thus the broad division of the spectrum Specification of Letters Patent.

by different arra Patented Dec. 2, 1 9 19 Application flled Ianuary7,1916. Serial No.- ?'0,'2'68.

and the gamut ai'e 'ident ical therefore the varying effects that can beproduced upon the eye and ear respectively ements andcombination may befacihtated y the similar division of both into seven parts. The niceadaptation of the colors of the s ectruni to synchronous presentmentwith t e tones of the gamut or musical scale, is further illustrated bythe arrangement and presentment of the colors of the spectrum, to theeye infihe sequence or order in whih they may he disposed, as ind '0,blue, purple, red,--. orange, yellow, g1 on, making seven, and thenrepeating the first of the seven making the eighth, the color beingrepeated in a. higher key, similarly'to the manner of repeetin the firsttone of an octave to complete t e octave, so that the first tonerepeated in a higher key stands as the eighth tone of the first octaveand the first tone of the second octave? By this it-is seen that thecolors of ,the spectrum may be disposed in octaves of color, preciselyin the same nmnner as the gamut or musical scale is divided, byrepeating the first color of the color octave in a higher key, that is,a lighter tone or tint, as the last'or eighth color of the first octaveand the first color of the second octave.

I do not limit myself to any particular code for the arrangement of thecolors, as

corresponding identicallv with certain'tohe's of the musical scale, andhave only suggested the order above given as a convenient mode ofdefining the principle 11nd theory of my invention. Should it be assumedthat the above arrangement or order might be adopted as either a corrector arbitrary code of correspondence, it will be perceived that byfollowing the code in the nterpretationof a musical composition that onlefiects of A consonance or concord between t e musical tones and thecolors wou'ldbe produced in the interpretation; whereas it is oftendesirable in esthetic efi'ects to roduee efiects of dissonance orcontrasted e ects approachand ineter, with as much fidelity as themusical tones of instruments playing in concert, which is made possibleby the method I employ by 'subordinating various colors to voluntarycontrol for the purposes set forth and in the manner described.

While I have described in the foregoing onl a correspondence between thetones in mi dle C and the primary tones of the spectrum, making noallusion to the adaptation of colors for correspondences with the tonesof the scale'in other keys than the natural or middle C and higher. andlower octaves, and have only illustrated the correspondence between t ecolors and thetonesof. middle C, yet this is forexpedience onl and forthe purpose of renderin the speci cation more simple and intelligi lethan would be possibleif the drawin and specification were involved witha etailed illustration and description of all the various keys and thevarying tones in each scale of a dlll'erent kc and an attempt toillustrate the correspon ance of all the various colors with eachmusical tone of whatever scale or key;

Therefore while I have not attempted and will not. attempt in this sification to deline and explain in detai the exact correspondencc ofeach particular musical tone in the gamut, with any particular-color Iwill state that 'the correspondence of the colors with semii'tones, assharps and flats is determined by a code which is prearranged so thatthe corresponding-tones and colors mav be produced in the he s in whichsharps and flats occur as well as m the natural key as illustrated inthe drawings and described in the specification. This is accomplished byblending two colors corresponding with two musical tones between which asharp or flat may occur, so'as to produce a neutral tone or tint ofcolor.which will correspond with the sharp or flat between the twomusical tones with whichthe two original colors thus blended are assumedto correspond; and to make the prismatic colors and the blended colorscorrespond with the tones in the higher and lower octaves or scales.

I am aware that other persons have.

promulgated theories of correspondence between color and sound and haveproposed to produce colors as an interpretation of music or us anaccompaniment to music, hut I do not mncede to their assumed basis ofcorrclntion or the code of correspondence proposed by them as beingaccurate and absolute and believe that in every cams the persons haveassumed 'a'h arbitrary code which they alle e to be absolute and basedupon physi cal aw. I am prepared to admit that there may be acorrespondence that is absolute based upon the rapidity" of vibrationsof light waves and of scan waves, and do ndt h ibt that some pleasinoeffects could be pioduced by synchronously producing such sound waves.in, ea clr' musical tone as nearly 1 as scientific investigation maydetermine the same, mi ht find great pleasure in hearing a musica comsition produced synchro nously with Jig itl'eil'ects arranged accordinga to a code of; correspondence based upon thc comparative rapidity ofvibration of light and sound waves respectively, as in this case themotive would-be to note the eliect upon the objective or even thesubjective sense of the colors. and soundscorrespond ing accordingly)the codcof correspondence based solely upon the rapidity of vlbration'sof light and SOundwaVesQ a But to assume another iiiotive a much morepleasing effect might be obtained. For example, assuming as a basis fora code of correspondence between colors and tones, that the tone mostuniversally sounded by. the human voice, or that most universallysounded by the musical-voice common to both sexes, or to men or womcnonly. should be assumed as theprialominatingtone in a code and given thefirst place in the naturalkey or middle 0, if such it proved to be; itis believed that this would be a fair criterion for ascertainingthe'basis for-a codeof musical tones with which to marshal or class byanalogy or siniilitudc the colors of the spectrum; this much having beenestablishgd and disregarding any and all abtsruse anddidactic theoriesof physical whit-ionship bus-ted upon rapidity of vibrations, it wouldseem quite consistent to assume asa basis for determining the coi'iesmnding V colors of the spectrum for the tones in; the scale, ananalogous ride to that adopted in determining the basis for(lfiteljlllllllng the predominating color in'the chromatic scale, namelythe law of universality or frequency- "with which the color is seen ingeneral, or in particular pleasing and beautiful scenes or surroundingsas in landscapes natural scenery. or in certain fields of art. upon theprinciple of universality, or frequency, the prevailing orprcdominut-inn color to corrospoml' might be said to be the 125- ultramurme blue of the ocean or the corulean blue .of the sky. or pcrchancrthe run-raid green of the verdure; or seeking for a color 1n therainbow. or m the field of art 1rd might be selected as the mcdominatingcolor '130 and therefore the correlative, analogous or correspondingcolor to middle (3. The corres ondent for the first musical tone 1n thescale being ascertained I assume that rd:-

6 narily the relative position of the colors as seen in] the'rainbow, orspectrum should be followed intheascending scale the first color beingrepeated as the eighth in an'octave'and the s'emrtonegptghar s and flatsbeing indicateda-hlohdingp ,thecolors corresponding withg' the nes aboveand below the sharper-flat as before described. I

.octaires or scales above middle C in I iCCOlfiflllOG-J'Vitll my methodare represented by the same colors as the tones of middle (I and thesemitones or sharps and flats in that octave, with the exception thatthe color-is diluted to. a tint of the color which repre= sentsthecorresponding tone in the lower octave; and correspondingly the octaves'or -scales .below middle C are represented b the same colors as thetones'in the middle C. with the exception that the colors are more denseor are mixed with black or other pigment, or more nearly approach blackor 40 spondence between the colors and the tones of a musical scale or-the gamut, each color orcombination of color being successivelypresented to the view in rhythmical succession and for an intervalcorresponding with the time of the musical tone or chord with which" itis assumed to correspond in the musical. production.

My invention consists in the method cm- 'ployed for producing therhvthinical changmg color effects desired. inexpensively and withaccuracy by means of machinery now in common use thus olivialin r thenecessity of constructing special machinery for the.

purpose of controlling color effects for in-.

terpreting musical com msitions or as accom animent for music or otherrhytlnnical p notions.

I attain this object by the method illustrated in the accompanyingdrawings and 69 more fullydes'cribed hereinafter.

Referring to the acompanyimr drawings. aFagure 1 is a verse of thenational song: America, set to music and wrutcn in thc mturalkey ormiddle C:

II 2, is a diagrammatic view illustratingthe comparative length of thetime of the notes bl}; an elongated space between two lines, the ginningand end of the tones hcing indicated by a vertical line across the spacebetween the two lines said incloscd 7o elongated spaces being disposedupon the stall in thesamc relative position as the notes iii-Fig, 1;

Fig. 3, represents an assumed color scale in whih the tones are eachrepresented" by shading or hatching 1n accor( lance'; w1tli'the j? codeor keyshown in Fig. 5, instead of the usual system of notation in whichthe toneis of the scale are written upon the lines andin the spacesbetween the lines; '1' F ig. 4 rcprescnts a film adaptedbfor hoingconveyed through a projecting lamp such as is commonly employed forprojecting motion pictures upon a screen, and is charged with colors inaccordance with my 5 assumed code of correspondence .lictwcen colors andmusical tones, for interpreting in color the tune America. aslllustrated In Fig. 1 in the key of middle C;

Fig. 5 is a plurality of roundels taken'col- 9 lcctively as one figureand shaded or hatched substantially in accordance with therules laiddown in the Rules of Practice of the United States Patent Ollice toindicate colors in drmvingsand serves as a key .or code ,forintel'pretlngfithe coloringof the Y spaces in the drawings} 1 Fig. 6."illustrates one'method of employing my specially colored films forprojection upon a screen in conjunction with a motion picturc film;wherein each film [5 wound upon a separate delivery reel and conveyedthrough the machine simultaneously and than wound upon a separatereceiving reel.

also showing! one method of connecting the 106 projccting apparatus withother instruments as a phonograph and a mechanical piano player; Fig. 7is a. new illustrating another method of using'my specially colored film110 in conjunction with another film wherein hot-h films are wound uponthe same delivery rccl in superposed relation andafter being transmittedare rewound in the same manner upon a rcccivin reel;

Fig. 8- is a fi -oat view ofthe films and fragmentary rolls shown inFig. I; and

Fig. 9' represents a section of a film charged with impressions formoving picture cfl'ccts and also charged with colors in accordance withmy special method for the purpose of interpreting av musical compositionin color as set forth.

'lluscale or code represented in the drawings and employed in therepresentation of 1 5 the method herci n described is not presented asbring: technically correct or complete. but is arbitrarily assumed andembraces or illustraics only tours on the natural scale or that of C.The drawingsare made to em- 1130 brace only these tones for the sake ofsimplicitv and cleanses,- for the reason that middle C is the naturalkey and no shar s or flats occur in the octave, so .it is on y necessarywith this-scale to represent the true coiors of the spectrum as given inmy assumed code. as they are assumed to correspond with the tones inmiddle C, so it is unnecessary to represent in these drawings any sharpsor flats, as would be necessary if another scale were used.

-It is-assumed for the purpose of illustration of the mcthod'that bluecorresponds with middle C, indigo with D, purple with E. red with F,orange with G, yellow with time of, music may be determined, and

A, on with B, and lighter blue with sec- To produce these notes in thehigher octaves a lighter shade of the same colors are employed, andtoproduce the tone in the octaves below middle C the tones are. deepenedor darkened by shading towprd black or darkness where all color effectsare dissolved and lost.

To express the sharp and flat tones the two colors representing thenatural tones first above and below the semi-tone are blended insuitable proportions" so as to make a neutral "color or tint whichrepresents the sharp what to be denoted.

In Fig. 2, I have omitted the notes of the ordinary system of musicalnotation and in the place thereof have drawn. parallel lines with crosslines which represent the tones of the scale and also represent the timeor interval of each respective tone; in this figure however the exactproportional length of the notes is not assumed to be expressed in thecomparative length of the 8 aces but it is asumed that they are proportionally of the proper len h to ex rose the comparative intervals 0time o the notes they represent. I adopt this mode of illustrating thetones and time to illustrate in a simple manner how an elonga strip orspace may sent time in notation, and assuming that the osition or toneof each note for its proper interval may be indicated by the color withwhich the portion of a strip of film or space is charged, it is a parentthat by varying the lengths into w \ich a film is divided tge y thecolor of the different portions or sections thereof the various tones ofmusic may be denoted in aecomlance with a predetermined code ofcorrespondence.

. In Fig; 2, I have not colored the spaces to indicate he tones copy aposition upon the stud to denote their tone, and for the further reasonthat the spaces are too small to admit of hatching successfully. Asblank spaces it will he assumed that they represent varying lengths of acontinuous film such as is used for 1110- 'variation in the length oftones in the musical tones be employed to repre-- they represent as they00- second, one

tion pictures the variations in length being in exact proportion on thefilm with the the time of the they represent.

Referring to Fig. 3, it will be obvious that by coloring thesesubdivisions of the film in accordance with the scale or code thererepresented in accordance with the key shown in Fig. 5 of the-drawingsthat the film will be susceptible of denoting the tones of the musicalcomposition through the me? dium of their color, and the time by thelength of the portion of film charged with the color. In Fig; trebleclef as extending over two bars on the stall which is to. indicate thatthe colors may be extendedentirely across the stud and the notes ofmusic indicated thereon as a method of notation, and in the bass clef Ihave shown the colors as extending only to one bar. which indicatesthatthe color be placed at the beginning of and the musical notation writtenupon the plain paper across the page the length of the staff as is nowcustoma The difference in the. depth of the color that expresses thehigher or lower octaves code may each stafi only is suggested by thestrength of the shade lines and the comparative depth of shading orhatching which denotes the colors.

By reference to Fig. 4, a practical illustration of the method 1 em loywill be seen. In the figum, the numeral II represents a continuous filmof transparent material and having parallel perforated edges 12, wherebyit may be transmitted throu the ordinary projectin machines use inmotion picture work. he film may be assumed to be drawn to a scale ofone half the actual width and-one eighth of its lineal length per footas subdivided in the drawing.

Further assuming that the film will .be usually'transinitted through theprojector at an average speed of 1 foot per second and assuming alsothat the usual time for a whole musical note is one second it will beseen that the film movin at one foot per second would travel one oot inthe time oi one whole note of music, one half a foot in the time of aone half note and one fourth of a foot in the time ofa one fourth note,&o. n In the drawing one and one half inches lineal length representsone foot of the film and accordingly by the shading or one foot or thelength of film which will be transmitted through the projector in onesecond of time, and'shorter or longer spaces in like proportion, as onesecond and! me half, one half a second and our fourtlglot one second.&c.

The tune America ausposed to the-key of middle C is indicate upon thefilm shown in Fig. 4. For simp icity only the air is given.

111 indicating. the coloring cording t1. t

"lllt't'l synchronously The first tone is middle 0 and accordingly thecolor of the first subdivision of the film must correspond, with middle0 which ace code 'ven in Fig. 3, is blue, alf notes in the tone of C thetime ofboth notes is equal to one whole note and therefore the ion 1 offilm which will,v betransmittedthroug the projector in one'second oftime or the time of two half notes is colored blue, the color hem shownas representing middle C. The next tone is D ahalf note, and thatportion of the film which will be transmitted in one half a secondshould be colored indigo blue, which is the color here represented ascor res onding'with 1). 0 denote the pauses or rests in the music asuitable length of the film is colored black and-as thereare'two.

or some other color. distinguishable from the colors representin themusical tone, so that the pause will be enoted by the time it requiresfor the ortion colored to be transmitted throug theprojector.

In the last line of the song there are glides or slurs or notes tied-tother as at the word every and let. i he first slur or glide is from F toBand from E to D. The film is charged at the l-r-qinning of the portiondenoting thexime Jf the beginning of the tone, with the colorrepresenting F, which is red, the latter portion is charged with thecolor representing E, which is purple, and a part of the film betweenthe beinning am latter portion of this section of is colored a shade ofcolor neutral red and purple so that the change red to purple will hegraduated and of the tone from F lbe film between from the will resemblethe glide to I). Like treatment is iven to the film to simulate theglide from %I to D, excepting that the colors are indi o and blue andlike wise in the last bar, w here the tone of the word flct begins on Aand glides to E, the colors representing these tones according toour'assumed rode being orange and ye low and a neutral color betweenthem.

In practising the method herein described I not only char e transparentfilms with iolol's to express musical compositions, but films chargedwith impressions for pro eclion upon screens, whoreb illustrated son 3null other compositions, ramatic or rhyt 1- dual productions or effectsmay be prewith the color interprrtutinns of a musical composition as anaccompaniment. to music or as a color interprrtation independently ofother musical expression When it is desired to present my colorinterpretation of music simultaneous y with pictures I employ severalmodes one of which is shown in Fig. 6 of the drawings, in which thenumeral 13 indicates a projecting machine sliOWll partly in section,having a lamp within a casing 14, guides for a film 15, a delivery reel16 above the guides and supported by the frame on which. the reel iswound a picture film 17, said film being adapted to be transmittedthrough the guides 15 of the projector, a receivin reel 18 on whichthefilm is wound after ieing transmitted through the projector and asecond delivery reel 19 is superposed upon the frame above the deliveryreel 16, and on which is wound which guides as the picture filmsimultaneously therewith and then wound upon a separate receiving reel21 mounted on the frame contiguous to the receiving reel 18.

By this method 'I can transmit one film at a higher rate of regulati gthe speed of the transmitti gearing of the projector and the reels, whicis an advantage in certain cases. It is also possible by this method totransmit the two lms simultaneously for a time and stop one of them orunthread one from the guides and project the colors or impressionscharged upon one only for a period of time.

By connectin the driving mechanism of the projector with the mechanismof a phonograph, a mechanical both or with other similar instruments Ihave found that. musical tones from the instrument, and the color of thefilms projected upon a screen be presented synchronously without erroror defectv as the speed of the projector, the honograph and instrumentmay be exactly regulated so as to operate in unison. A simple andpracticable means of connecting the mechanisms of the devices isillustrated in Fig. 6. The receiving reels 18 and 21 are connected by abelt 22 indicated in dotted lines, and the reel 19 is connected by a.belt 23 with a sprocket 24 which conveys the film through the guides 15of the projector. A motor 25 13 provided which is connected by a belt 26with the receiving reels 21 and 19 and serves to drive the mechanism ofthe projector 13 to convey the film through the machine so that the filmwill m .ve across the path ofwrays of light emitted from the light. Thebelt 27 connects the motor with the phonograph 28 and in a similarmanner the belt 29 connects'the mechanical piano player 30 with themotor, whereby all the mec anism of the various devices so connected maybe operated in unison so that synchronous records, piano music,-motionpictures and one of my color films 20" is transmitted through the same'speed than the other by piano player, or with or stage or other objectmay phonogra'phic color accompaniment or interpretation of music may beproduced.

It. is contemplated'that when it is desired to present synchronously therecords taken by a phonograph, and motion pictures with instrumentalmusic and in color interthat a calm prctation of music as describe placeof the era will be substituted in the projector shown in the drawingsand the 1m taken wh le the music of the instrumental player is beingproduced, or while a phonograp ic record is bein made to syn- 8 ehronizewith the scenes of t e motion picture or while both such phonogra-pbicrecord and pianoor instrumental music are being produced. The 'lilm forthe color clients may then be maide to correspond with the musical com'on'fby any process found most desirab e and projected with the pictureand phonographic record and other musical ellects as desired.

By this means the speed of the phonograph and the s of the camera may beregulated and w en the pictures are exposed or projected the mechanismrunnin at the same relative speed will insure per ect synchronism ofphon raphic rewrds and pic- !Q ture prof'ections. he use of themechanical piano p ayer will also enable the operators to time thepicture and phonographic record while reparin them so that there will bea pa cct rhyt m and I synchronous efiect throughout.

. I do not deem it necessar views in the drawings in or camera in oration in the lace of the promac 'ne as the mac anism is so design thatthe one can be substituted for the other in the system of machinery, andthe speed of the mechanismis regulated by to multiply means commonlyemployed in such mecha-.

nmm.

In presenting the color interpretation of a musical compositionsimultaneously with the impressions upon a motion picture film, I preferto place the color film between the source of light and the picture filmso that nu filament will pass between the picture film and the screen orother object upon which the-projecti n is thrown, which might tend toobscure the clearness of the pictorial, efl'ects of the film and preventa pcrfert reproduction of the delicate impressions reg1s tered on the'icture film by the camera. This is avoi by placing the color filmbetween the sonrce of light and the picture film for although theeoorsof the color film will modify the strength and color of the lightpassing through the picture film, light as so m lfied after reaching thepictureifilm has an unobstructed path from the icture to the screen, andclear sharp definition of picture impremions upon the screen willresult.

In Fig. 9 I ture film charged with musical composition, as pressions. Itwill be seen picture (2:1: is thus charged with color and where a lorfilm only is employed iorcproion that no unusual revision nee made forprojection, but. t e film 1s transmit- I have shown a ortion of a pic--co 01's denoting a well as picture amthat where the er to show a v theted in the ordinary manner through the projecwr.

. As a code of coriespondence between colors and musical tones I proposeto employ and present them as follows: middle C=indigo,

=bluc, E=purple, F=red, G=orange, A=yellow, B: 'een,.() 2nd=light blue,0 slrarp=neutral tween indigo and blue, D sharp=neutryl between blue andpurple, F sharpzneutral between red and orange, G sharp=neutral betweenorange and allow, A sharp=neutral between yellow on green and 'Bsharp=neutral between green and indigo. i

To produce the corresponding tones in higher octaves I produce 1i htertints or shades of the same colors as t cos employed in the key ofmiddle C; and to produce the corresponding colors in the lower octaves Iemploy darker shades'of color the same as those used in middle C,merging toward black or utter darkness.

As a secondary code of correspondence between colors and musical tones,I substitute blue for indigo in the above and foregoing code, and indigofor blue.

As a third code of correspondence for color and musical tones I.prescntthem as follows: middle C=green, Dzindig blue, F=purple, G=red, A=oranlow andC 2nd=green lighter in s iade. he sharp and flat or semi-tonesare produced by blendin sent their wrres'ponding tones, to produce acolor to correspond E: a e1 with the sharp or flat or semi-tone betweenthe colors represented by the corresponding prismatic colors.

The same treatment is employed as above described to produce colors tocorrespond with the tones of the higher and lower octaves or scales thanmiddle C.

While I have described certain mechanical means for producing theeffects sought to be reduced t rough my invention and while I have atlength described certain details in explaining my mcthd of producingcolor interpretations of music or color accompaniments for musical orother rhythmical roductions, I do not wish to limit mysel to any of thespecific means or methods employed for reducing these novel andbeautiful efi'ects ut claim as my invention all the slight modificationsand variations which reasonably fall within the scope of myinyention asmore specifically pointed out in the annexed claims.

' I clairn-- 1. The herein described methodof producing a color harmonyas'an accompaniment for music or other rhythmical optical or other formof entertainment, comprisingthe fixing upon a continuous movable mediumadapted to be employed in conjunction with a lamp, of a color scale,

whereby the lightthese colors as assumed to repremony from the lam maybe modified so as to changing color efl'ect in the rays of light fromthe lamp, substantially as and for the purposes set forth.

2. The method of producing a color baras an uecompanin'ient for music orother form of entertainment, auditory or spectacular, comprising thefixing. upon a to be employed in contransparency adapted junct on with alamp of a color scale, whereby'the light may be modified so asto producea rhythmical and harmonious changing color effect in the rays of lightemitted from the lamp or projected upon a screen, a stage orotherobject,- as an interpretation of music changing effect terta nment,auditory I set tiousfjand regular throu h the medium of colorsubstantially as an for the purposes set forth.

3.- The method of producing a color accompaniment for music or otherform of enor spectacular, by fix- .n a continuous film adapted to beconing ll rovxded u on a lamp,

veye through guides of a color' scale, where y thelig t'from the lampmay be'modified' so as to produce a rhythmical and harmonious changingcolor etfe ;t,sgbstantially as and for the purposes ort T 4. The methodof producing color music synchronously with other forms ofentertainment, auditory or spectacular; comprising the fixing upon amedium adapted to be emplo ed in conjunction with a light, ofa colorscale'whereby the rays .of light may be modified by the colors ofthelscale in metrical and rhythmical succession by the continuousandregular movement of the medium, so as to produce arhythmical andharmonious of the rays of light and the'intervals of durationof therespective color efl'ects, substantially as and for the purposes setforth.

5. The'method of producingcolor music synchronously-With other forms ofor spectacular entertainment; comprising the fixing upon a transparencyadapted to be employed in conjunction with a light, of a color scalewhereby the rays: from the light may be modified by the colors of thescale in metrical .and rhythmica succession, by the,continuous andregular movement of the transparency, so as toproduce a rhythmical andharmonious color effect on the rays of light. a

6.. The method of producing color music synchronously with other formsof auditory or spectacular entertainment com prising the fixing upon acontinuous film adapted to be conveye through guides provided upon alamp of a color scale, whereby the rays of lightemitted from the lampmay be modified bythe' colorsotjthegscale, 1n metrical and"rhythmical=succession, by thecontinythm'ical and harmoniousthrough the changingcolors the musical tone,

auditory movement the film through the guides, so as to produce ametrical, rhythmical and harmonious changin color effect upon the raysof light emitte from the lamp or projected upon a screen, a sta' orother obJect, substantially as and for t e purposes set forth.

7. The herein described method of translating a musical compositionthrough themedium of color; comprising the fixing upon a medium adaptedto'b'e disposed in the path of the rays of light from a lamp or othersource of light'of a color scale corres riding with the musical tones ina scale 0 music,

said medium being adapted to be conveyed continuously acrossthe path ofthe rays of light so as to produce a rh 'thmica] and har moniouschanging color e ect upon the rays emitted from the light or rojcctcd'upon a screen, a stage or other ob ect, substantially as and for thepurposes set forth.

8. In a method of translating music through the medium .of color, themode of producing the desired changes in color and rhythmicalsuccession, by fixing upon a con-' tinuous film adapted to be conveyedacross the path ,of rays from a light at a given speed, a color scale,in which each musical tone is represented bya certain cplor asdetermined by a prearranged codexof orrespondi-ng colors and musicaltones, and in which the time of each musical tone is represented by theextent of the film of the color representing the tone upon the film sothat the prolonged time of any tone will be represented by a reaterlength of'time of exposure of light though the portion of 1m beingcharged withsuch color and the shorter tones by a shorter ex )osure oflight through a less extent of ti charged with such color as correspondswith substantially as and for the purposes set forth. 9. In a method oftranslatin 'music through the medium of color; the mode of producing therequired changes in color and the rhythmical variations in time, byfixing upon a film adapted to be conveyed throu h guides provided upon alamp and across t no path of the rays of light from the'lamp at a givenspeed, of a color scale, in which each color represents a tone in amusical composition and the extent1of the film charged with the colorthe interval of time winch the tone should be held, wherch the rays ofli ht will be modified as to co or. and the rh t mica] succession oftime will be regu ated by the transmission of the movable film act thepath of the rays of light at 1 even rate of relatively corresponds withsinging, dancing, marching of dramatic ac.- tion, or pictures projectedHon a screen, a.

or other object, the m e oral succession by xing upon a continuousfilnhadl ptod to be conve ed continuously 1 across-t 'e'patli-of rays ofight from a proiecting lamp-Lon? other source of light, of a a colorscale as'idetermined bya code of cor- ,-l respondence' between colorsand musical tones, inwhieh each color represents a certain tone in amusical con'iposition and m which the time or intervals of the musicrepresented by varying exposure of light through varying len h of filmcharged with a given color so hat the time of a one fourth note will berepresented by exposure of'ligh't through an extent of film one fourththat which wou represent a whole note; whereby a translation of musicthrough the medium of color may be produced by modifying the rays of liht d regulating the duration of each co or efiect produced to corresp ndwith the changes of pitch and time in a musical composition.

11. In the herein described method of producing a rhythmical andharmonious color accompaniment for music; the mode of Z dividing acontinuous film which is adapted J an to beconveyed across the path ofrays of light from a lampor other source of light;

reby each subdivision of the film is made -to correspond in length withthe interval of time of the corresponding tones'in a musical compositionin accordance with a code, so that a' iven length of film represents afull note, and a fractional part of such length, represents anequivalent fractional part of-a whole note, and another certain extentof the film represents a I of a certain duration, each subdivision ofthe film being charged with a certain color corres onding with the toneof music with which item-responds in time, in pitch in accordance withthe code.

12. In the herein described method of producing music throu h the mediumof color; means for ing t e pitch and time; comprising a continuoustransparent film, adapted to be transmitted through a pro ecting machinefor motion pictures, sal film be- {ng charged with colors in accordancewith a code of correspondence between colors [and musical; tones, theextent of the film '51} charged with each color correspondingreluti'vely in length, to the extent of time of each note of the musicalcomposition, whereby a. rhythmical and harmonious color effect 13roduced for projection upon ascreen, a .l forth.

' described method of the purposes set 13. In the herem producing amusica composition through the medium of color; means for successively'1 emitting. rays from a constant source or light through of producingthe requisite-alien? in color and rhythmirhythmical succession,substantially as and green, and C -resent the scale a muse or rest tuneabove .middle -riously colored lights Pflpgeor other obwct,substantially as and,

successive portions of a continuous transparent hlm charged withdifferent colors, m accordance with a code of ('OlI'GHPtIIItllDg colorsand nmsicul tones, in

for the purposes set forth.

14 The herein described method of intcb preting a musical compositionthrough the medium of color, in w-cordunccwith abode of tan-respondingcolors and musical tones, m which; midd 0 equals indigo blue, D equalsblue, E equals violet, F equals red, (l equals orange, A equals yellow,B equals I 2nd equals indigo reduced in intensity; and the semi-tonesare re resented by a color produced by blen ing the colors replesentingthe two tones next above and below the semi-tone; the same colors beingemployed in varying degrees of density brilhancy, de th-and clearness torepg5 ove and below the scale of middle (1, whereby the higher scalesale denoted by lighter tints of color and the lower scale by darkerShades of color..

15 The herein described method of interpret ng a musical compositionthrough the medlum of color by successively emitting rays of light froma constant sourceof light through transparencies of different colors inaccordance with a code of correspondence between colors andumsicaltones, In which middle (Iequals gleen, 1.} equals indigo, Bequals blue. l e uals violet, G equals red, A equals omngc,

equals yellow and C 2nd equals lighter green; C-.-harp equals neutralbetween green and indigo, D-sharp' uals neutral between indigo and blue,F-s ar equals neutral between violet and red, GE sharp equals neutralbetween red and orange, A-sharp equals neutral between omnge and yellowand the tones in the scales crocare repiesented by lighter tints of thesame colors as those representin the tones in the scale or octave ofmiddle and the.t'ones in the scales or 00- taves below middle C arerepresented by deeper or darker shades-of the same colors as thoserepresenting the tones in middle C,

the higher tones being graduated into white or white light and the lowergraduated 1n the black or darkness or absence of all light.

16. In a method of translating music through the medium of color by arhythmical successive prescntmentto view, byfprojection upon a screen orotherobject, o va-' in accordance with a scale of cones ondm colors andmusical tones, in whici mid: e C equals blue, D equals indigo, E equalsviolet, F uals red, G equals on e, A equals yellow, gequals greenand' C2n equals lighter blue; thgsemitones are simulated by blending ,thecolors which represent the next tone abovegand below the semitone; andthe tones 'of the tones being 115 part of such section will be charrepresent a 1mm scales or octaves above middle C are represented byllighter tints of the colors re resenting t e tones in middle 0, aduatetoward white or white li ht, an the, tones in the scales or octaves lowmiddle 0 are represented by deeper or darker shade of the colorsrepresenting the tone in middle 0 graduated toward black or darkness orabsence .of all light.

17. In the herein described method of interpreting a "musicalcomposition through the medium of color compr' the System of exposing orprojecting a 1i t'through a variously colored continuous film inrhythmical succession in accordance with a prearranged arbitrary code ofcorrespondence between colors and musical tones; means for ,denot' aglide or slur com ris' the mode 0 coloring a section of t e film of agiven extent or length corresponding with the tones of the glide or slurso that a d with the color denoting the first note 0 the slur or lidsand another section slightly removed erefrom will'be char (1 with thecolor the succe ing note, and the section of m between'the two sectionswill be charged with a color gradually blended from the first color tothe second color, ad-

sefiatz'm through all the notes embraced in the glide or slur, wherebythere will be no abrupt cessation of one color but a gradual merging ortransition from the first to the second color by the blending of thecolors together in the interval of space between the two. a

18. In the herein described method of interpreting a musical compositionthrough the medium of color in accordance with a code of correspondingcolors and musical tones the mode of denoting a pause in a stafi ofmusic by changing a section of a continuous color film prepared inconformity with the code, with a color darker than the colors denotingthe tones in the music immediately preceding or. succeeding the ause thelength of the section so colored to denote the ause bein regulated inproportion to the ength of t is pause or rest in the music,substantially as and for the purposes set forth.

19. The herein described method of interpreting a musical compositionthrough the medium of color by successively exposing alight through acontinuous transpareflt film of different colors, of a continuoustransparent film, said film being colored in accordance with aprearranged code, defining a natural law of harmony between colorsandmusical tones, the intervals of time being denoted by the relativeextent of film of a iven color and the time of exposure of the lightthrough each color corresponding with its correlative tone, while suchpart of the film is passing at a iven speed across the pdth of the raysof light from the pro jector to be projected upon a screen, a stage orother object.

20. The method of producing a harmonione color accompaniment to songs,instrumental music, motion ictures and phonographic records, in rytlnnical 'time, by means of a continuous transparent color film chargedwith colors in accordance with a prearranged code of correspondingcolors and musical tones, synchronously by operating the mechanism ofthe pro ector, the phono raph and mechanically played instrumenta music,at the same relative speed in unison by a common motor or motorgenerator, substantially as and for the purposes set forth.

In testimony that I claim the foregoing as my invention, I have signedmy name in presence of two witnesses, this thirtieth day of December,one thousand nine hundred and fifteen.

CHARLES F. WILCOX.

